As Ethio-jazz is a hybrid style, this thesis aims to identify the cultural origins of individual musical elements that are found on the record Yekatit Ethio Jazz. One of the important works of Ethio-jazz is Mulatu Astatke’s 1974 LP entitled Yekatit Ethio Jazz. Ethio-jazz emerged in in Addis Ababa in the 1960s and ‘70s and is a hybrid of traditional Ethiopian musical elements fused with African American jazz, soul and funk. Recently, there has been a rise in the popularity of Ethiopian music in the Western world, particularly of the contemporary style known as Ethio-jazz. They can be seen as a product of the confluence of cultural groups and historical events. Abstract: All musical styles are hybrids. This thesis received the mark of First Class Honours. This is an unpublished thesis written in 2016 to complete the requirements for a Bachelor of Music (Honours) at Southern Cross University, Lismore, Australia. The most American form of expression in music, widely popular during the 1920-1950’s, has eventually turned into an esoteric Aesopian art form, meaningful mainly to an expert – ideally, a jazz performer himself. At the end of this chain, after about sixty years passed from jazz’ inception, the general public started losing interest in this art form which has become severely censored as a result of imperfect copyright laws, their overly restrictive administration, as well as the failure of legislative bodies and courts to recognize the special nature of jazz. Bad copyright laws led to bad practices of law enforcement, which in turn, promoted bad business practices in relation to jazz. Cross-examination of data coming from musicology, sociology, legal and economic studies points in the direction of legal issues as the primary underlying cause of negative changes that affected jazz.
This short book investigates the connection between the existing copyright laws, their administration in the U.S., and the historic changes in the way jazz music has been performed and consumed in America. But very few researchers have touched upon the role that American copyright law has played in the development of jazz. Much has been written on jazz, its explosive success at the beginning of its life journey, and its gradual gain of respectability as it aged – in exchange for a noticeable loss of popularity in the land of its birth. This study contributes to a greater knowledge, assessment and mapping of the influential techniques of Joe Henderson’s music and its impact on the current saxophone playing and composition being integrated into original creative practices which may be used as a Pedagogical study and educational tool. Appendix Main Conclusion: This examination has led me to new discoveries in the potentialities as a jazz composer and improviser, having developed from working within the boundaries, structures and influences of various tunes and performances by past masters such as Joe Henderson, who provide knowledge and space to transmute ideas and break new ground. The study is documented as an exegesis in the following format: 1 Introduction 2 Methodology 3 Literature Review 4 Repertoire Analysis 5 Analysis Of My Own Creative Work 6 Comparative Study 7 Conclusion 8 References 9. Original compositions were written, performed and recorded as an audio CD by a jazz ensemble lead by Alfredo Lopes in the harmonic style of Joe Henderson, putting into practice the information learnt from methodologies previously mentioned (practice led research from the creative arts paradigm). Transcription is a credible musicological practice for jazz musicians and it enables them to learn tools and develop vocabulary used in improvisation and the jazz language.
A harmonic analysis of transcriptions from music audio files of influential improvisational saxophone solos by the selected artist was written. 2) Theoretical component: a review of literature on Joe Henderson’s scores and music, an analysis on the influence of Joe Henderson, and an evaluation of his influence on my development as a musician/composer and saxophonist. Research methods: 1) Creative component: transcription and analysis of Joe Henderson’s work, composition of original repertoire and a documented CD recording of a jazz ensemble performing the original compositions.
ECM ALBUM ART CARLA BLEY LIVE PROFESSIONAL
The harmonic explorations of Joe Henderson: A study by a professional jazz musician of his contribution to the modern jazz composition and tenor saxophone sound Alfredo Lopes Abstract This is a creative practice led project and exegesis seeking to demonstrate why Joe Henderson is widely considered in the international jazz community to be one of the most meaningful players and composers to emerge from the 1960s, inspiring current players and composers in the field of modern jazz composition and tenor saxophone improvisation by evaluating the influence of his compositions, performance and improvisation techniques on the development of the current generation of jazz saxophonists.
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